Recorded on 12/12/2008, uploaded on 03/12/2009
Musician's or Publisher's Notes
The lesser of its two companions, the Sonatas in C and A
major (K. 330 and 331), the Piano Sonata in F major is nevertheless a superb
piece in its own right. It was originally thought that all three sonatas were
composed in the late 1770s, but now it is generally believed that they date
from 1783. They were published the following year by Artaria.
An interesting feature of the three movements of the F major
Sonata is Mozart's ability to create unity across all three movements by the
use of parallel minor keys. The outer movements, both regularly constructed
sonata forms, follow a nearly similar plan. After the principle theme, the
dominant key (as is expected to follow) is found by way of the key of D minor,
the relative minor of F. However, the second theme, instead of beginning in the
key of C major as it should, begins in its parallel minor. In the first
movement, the minor key portion of the second theme is more or less prefatory.
Following the initial statement of the second theme, the key of C minor then
returns in a sequential pattern bridging its two sections. In the finale,
however, the C minor section is given much more thematic prominence.
Furthermore, once the key of C major is established, the major key is
significantly colored with its minor counterpart.
The middle Adagio, also more or less, follows this
plan. Written in a sonatina form, the first phrase of the principal theme in
B-flat major is immediately repeated in the tonic minor. Following the close of
the exposition, the recapitulation begins immediately. In the earlier editions
of the sonata, the recapitulation is brilliantly ornamented. These
embellishments were added by the publisher under Mozart's supervision,
providing interesting insight into how the composer himself expected his
sonatas to be performed. Joseph
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